Somlyódy László - Somlyódy Nóra (szerk.): Hungarian Arts and Sciences 1848 - 2000 - East European Monographs 635. Atlantic Studies on Society Change 111. (New York, 2003)

Biographies

Biographies 498 the Museum and ecumenical ‘Church of the Forest’ for the National Historical Memorial Park at Opusztaszer (1992-96), north of Szeged. The Chapel of Reconciliation at Beremend (1995-97), near the Serbian border, with its two slim towers, stubby central core of petaloid concrete shells and lily-shaped crosses in front, powerfully evoke the natural budding process. Csík, Tibor (1927-1976) Boxer. Twice Hungarian champion at bantamweight (1946, 1948), then Olympic champion (1948); took gold at the World University Championship (1949). Left Hungary in 1956, dying in Australia. Csokonai Vitéz, Mihály (1773-1805) Poet. A student at the Calvinist Debrecen College for 15 years, he was expelled in 1795 for nominal infractions of college mles, or rather because of his sympathy for the Jacobins. His first literary works are the animal fable Bagoly és kócsag (The Owl and the Heron, 1790) and the Homeric ‘travesty’ Béka­­egérharc (Batrachomyomachia, or the Battle of the Frogs and Mice, 1791), both express his disappointment in the resistance of the nobility, but his satirical poems also attack the citizens. Rococo style and popular elements appeared in his work by the early 1790s. The unfinished satirical play Méla Tempefői avagy Az is bolond, ki poétává lesz Magyarországon (Musing Tempefői, or Whoever Becomes a Poet in Hungary is a Fool, 1793-95) criticises the deplorable state of education and civil­isation in the country, and depicts the personal sorrows of the poet. Konstancinápoly (Constantinople, 1793) is an anti-reli­gious poem deeply influenced by Voltaire, whilst the yearning for an uncorrupted earlier age of Az estve (The Evening, 1793) is more Rousseauesque. A further comic epic, Dorottya vagyis A dámák diadala a fársángon (Dorottya, or The Triumph of the Ladies at the Carnival, 1799), criticised the imitation of foreign fashions, its prologue emphasising the priority of con­tent over form. The love poetry of the Lilia cycle, possibly

Next